CromsWords

Thursday, July 27, 2017

The month of July 2017 presented 10 day period where a number of noteworthy live shows and recent record releases captured the attention of this site. What follows here is a chronological recap of those shows, along with new record reviews from artists who's work deserves the attention of discerning music listeners.

Having last experienced a Stargazer Lilies show back on April 3, 2016, the evolution of their live show sound here on this night of July 13, 2017 at St. Vitus in Brooklyn was something of a surprise.

The overall impression this time was of a slower, more deliberately doom-laden experience.

Even the dark angelic presence of dreamy bassist/vocalist Kim appeared to be playing with a deliberately measured precision.

Ever the master of his electronic domain, John's guitar textures were mysteriously impressive as ever, while drummer Tammy throttled down in tight formation.

Pastel color lighting provided the appropriate backdrop for what a number of us agreed was a turn in sonic direction that is oftentimes dubbed "stoner rock."

Kim is a most impressive figure, having to carry all the vocals herself, while locking down the lower frequencies and looking fantastic throughout. She's mastered the Morticia Addams look and adapted it perfectly to her band.

Hazy stoner doom dreamgaze - is that a new sub-genre now?

John, pedals and effects - because it must always be this way.

Pictures of Lily - made my life so wonderful.

There is in fact a door to the sun

You can hear it in the overtones

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Get this record Door To The Sun and immerse yourself in their weird and wonderful sonic bliss.

Two days later saw the annual July Summer Weekend Out In The Streets Festival begin.

Saturday the 15th featured a prime time performance from the always enchanting Buscabulla

Having previously been enamored by the wonderful hybrid sound on their contest-winning, Dev Hynes produced debut EP and subsequent visually enticing music videos, attending this show became a priority.

Known for their innovative blending of ambient textures, latin beats and tropical rhythms, the band has been quoted as self-describing their sound as "futuristic carribean music."

Fronted by the willowy, athletic and glamorous Raquel Berrios, her sweetly seductive vocalizing pulls you into an enveloping experience.

The synth beats are essential, along with the frequently dominant bass lines from co-leader Luis Alfredo del Valle.

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The band released their self-produced follow-up EP II this year, along with an inspired self-directed videos showing off their creative flair. Check out Tartaro on their YouTube channel.

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Working their way through a set of newer material and early tracks (like the eternally wonderful "Sono") Berrios and company had the warm weather afternoon crowd swaying to their hypnotic beat.

Closing out this evenings show was a spirited (if somewhat abbreviated) set from heavyweight rockers Caveman

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The local boys hit the ground running and proceeded to kick it hard from the very first note.

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They play a classic style of progressive pop vocal music, at times similar to the supergroup Asia.

A solid crowd showed up and were totally in to the show.

In-demand drummer Mikey Jones (founding member of Heaven) locked down the beat in his inimitable style.

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Check out their song "Life Or Just Living," which perfectly captures their melodic sophisticated rock.

Beguiled audience members.

Disappointing to all was the fact they had to shut down the show abruptly - due apparently to "noise complaints." It's a shame that both Caveman and Buscabulla weren't allowed to play their full sets. Something both bands wanted to do very much.

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Sunday, July 16 would see the second day of OITS Fest sticking closer to schedule, which served to alleviate the "over run" issues from Saturday.

In addition to his role in A Place To Bury Strangers, Dion Lunadon has recently released an excellent solo album of his own.

At just over a minute in length, opening track "Insurance, Rent and Taxes" throttles and throbs with pogo punk mayhem and distortion. While it's difficult to make out the exact words being presented, the songs title is easily understood. Those are three things we all have to deal with, and they all cost you big time.

"Reduction Agent" conjures up the guitar sound from The Velvet Underground's "Run, Run Run” and a twist of the progression from "On Road Again" as lyrics state "much too young to get any older - "drop the microphone, cry on your shoulder." "Smashed, burned, beaten and stoned - I've got the mark of death and it won't leave me alone." "Feel The Pain" becomes the mantra for this raging tale of cross-country death trip thrill seekers.

The spirit of late 70's punk rock is powered through the tightly-coiled track "Com/Broke." Capturing the locked in raw precision of guitar, bass and drums bands like The Ramones, Dead Boys and The Damned, an aggressive nihilism unfolds. Centered on the hook "I got no reason to hold on," a desolate picture unfolds with the lyrics "drown in some dead end bar - might as well crash a car." "Build a home outside the city - set it on fire watch it burn without pity."

Drawing from the German motorik style pioneered by artists like Can and Neu!, "Hanging By A Thread" builds off a train-pulse rhythm matched to driving bass and bending sonic embellishments. Abrasive guitars emerge, firing off sheering waves, as if bursting through walls of metal. The tracks final 30 seconds strips down to a simple bass guitar and drum beat, where the title line are the only words spoken.

Bass guitar takes the dominant driving position under even more punky guttural vocals on "Eliminator." "Got no sympathy for you - got no love for you" makes clear the teetering-on-age state of mind here. An expolsive instrumental coda caps off the songs final minute.

"Howl" jumps in a more traditional three-chord rock format. A single note Farfisa organ tone adds one more sonic texture to the "gimme one more" change section.

What happens when you take Elvis' "Blue Suede Shoes," jack it up on speed and run that through a blusey shredder? You get the unhinged track "Ripper." Points given for the actual blues harp that runs through it all.

Another under two minute gem, "White Fence" is perhaps the most lyrically curious track on the record. "I like it weird and wild - and that's the way it was" is just one of many cryptic lines delivered like an early Iggy and The Stooges cut.

Final number "No Control" builds slowly around a steady bassline, single thump drum beat and churning guitar embellishments. There's a psychobilly element to it that brings to mind the Cramps moodier work.

Releasing a full-length album simultaneously with a high quality video recording of each part as they were executed in the studio shows mastery of the modern technological tools currently at hand.

The video album opens with a laptop overlay viewing of “RuPaul being wonderfully glamorous at the Pyramid Club” from 9/26/85 on YouTube. Immediately making a statement on how we currently view much of our visual content (via embedded videos) and the necessary illusions fueling it all (pick your fantasy and fall into it), opening track “Catch a Grave” begins.

Speaking of visual illusions, the uniquely clever technique of multiplying band members to reflect actual parts played on each song both informs and entertains. While Abdon dominates the left side with full drum kit, and assortment of Neko’s and Jasno’s (three each) let you know exactly who did what at each particular point in the song. “Catch a Grave” works a ska rhythm on guitar and bass while Jas’s lead passionate lead vocals channel the greatness of NYC 50’s and 60’s ear Do Wop. Singing about a summer romance and how “our hearts separate” sweet, surf guitar licks somehow make it all feel better.

A deep groove bass line, bright percussion and chunky guitar chords serve as entry point for the “street hassle” tell-it-like-it-is urban tale “Lou Reed.” Combining that legends talk-lyric style with more traditional soaring vocalizing, a variety of percussive instruments and handclaps add pleasing sonic details. There’s an admirable boldness in declaring the choice to live in New York City “like Lou Reed and David Bowie.”

An unexpected transition to the next song shows a full-length mirror being held horizontally, reflecting a rooftop camera positioned in front of the Empire State Building. That leads into the emotionally charged track “Take Me Out” which in addition to multiplying Abdon’s visual presence (he’s now a percussive 3-piece all by himself) benefits from a quietly-busy melodic bass line. Another seemingly love song to NYC where one looks for their “place on the concrete.” The heart-tugging chorus strikes a universal chord with the sentiment “take me I will be yours forever, show me things I’ve never known.” The wide-angle mirror returns, this time showing a passing subway train being captured by the recording device.

“Back From Black” snaps to attention with a jumping snare and bass drum beat while multi-layered voices implore how “you better pray” followed by a litany of concerns. Those inner doubts and warnings exist to prevent the “killing in my head.” More snaking surf style guitar riffs cut through the airwaves before the intimate breakdown explains how “I’m out of the grave – I’m out of my head” and “back from a blackness.”

“Under the bright sun – out in the blue swell” provides the catchy vocal hook for message-laden cut “Big Hits.” While word-switch/word-play features early (is it “heat” or “hate?”) powerfully abrasive electric guitar roughs up the underlying calypso rhythm. The message couldn’t be clearer, however – you can “only be true – to myself – and to you.”

The images of blonde women on motorcycles (one jacketed, one sleeveless and tattoo’d) and a dog are added behind drummer Abdon for “Silence of the Glams.” It’s a crunchy guitar and forward throbbing bass ‘n drums composition where the lyrical sentiment declares “I choose to be free.” With singer Jasno moving out of view, we witness an up-close can of liquid refreshment with the word “America” on it being popped open. That’s followed by a really cool two (and then three) guitar tour-de-force.

Presenting existential statements like “If you always get what you want you’ll never know the pain that others feel at your loss” reveals seventh track “Hung Lovers” grappling with relationships. While a certain level of self-sacrifice may be necessary to make them work, the musical question repeats “am I your only love” with Abdon’s triple-time ride cymbal as driving force.

Dance party fever!

The 50’s Do Wop stylings on “Touch Me Like You Love Me” homogenize the best vocal era of rock with today’s sheer guitar power. In addition to modern six string force and four string bass foundation, particularly satisfying is Jas and Neko’s vocal harmonizing on the title line and hooky phrase “don’t you tell me how I feel, no it ain’t fair”

As the video album progresses, it’s worth noting that the color of Abdon’s drums change throughout. What starts out as a sea foam green moves to blue, emerald green, gold, red and now approximates the pink of Jerry Nolan’s NY Dolls kit by the ninth song “Bastard’s Brew.” (They will ultimately add purple and sky blue to that mix by the end). The rallying cry of “do not wait, do not whither – it gets better, it gets better” provides a positive message for success in this life. While a nifty guitar and bass interlude underscores how seasoned musicians enhance from inside the song structure.

Enthusiastic dance shenanigans continue

Jasno let's his falsetto voice fly during high-point moments on "A Day Spent At Sea." While the song's title might have you expecting a sea-faring shanty, like most of the songs on this album, those titles are poetic references to something else entirely. In this case "you say(ing) you want to move on" begets the vocal hook "I'm an actor." I'm guessing a sea-faring one at that! The tune itself runs the gamut of spacious pause-in-the-mayhem breakdowns through heavy churning guitar bursts and twangy-to-ferocious licks.

"Can't Stop The Waves" has made frequent appearances in the bands live show for a while now. Capturing the innocent pure joy of Brian Wilson's early 60's classics, the distinctive Jasno solo riffs keep the surf waves flowing as the pursuit of an endless summer goes on.

Reprising the lyrical refrain "from that moment when I knew, I could only be true to me and you" the final track "Sorry Mom and Dad" is delivered as a personal note of apology, acceptance and forgiveness. The kind of message one might write to those responsible for bringing you in to this world and raising you - in private. Its a rare opportunity being able to present it publicly in the form of a song.

Love it Dave! Awesome capture of the night! Thanks for the kind words. "Polite sexy" ;) I dig it. I take that as a major compliment since I know you hit all the best shows and bands, and it's also a major compliment that you've been there with DLE since the early days! I'll say here what I said to you the other night which is you're on top of your game too and your writing and style are as good as ever!

You are one of the iconic women in rock - on our scene, Ana. It's quite impressive seeing (to borrow a line from Ollie) "how far you've come."

The things we say to each other - it echoes in our mind afterwards. I DO appreciate you those things you said. Casual conversation has a funny way of bringing things out. One quick thought leads to another - totally unplanned. It's why face-to-face contact is so important (as we hunker down in our computer-enhanced world).

Descriptions are great! Although no one has nailed the originator of the reduction agent Riff! John Lee Hooker.

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Dion Lunadon shared on Facebook:

Thank you to Dave Cromwell and DaveCromwellWrites for the review of my record and the live review of A Place To Bury Strangers at Out In The Streets Music & Arts Festival . Also reviews on Hellbirds Dead Leaf Echo and Tall Juan

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Dion Lunadon posted on Twitter:

Thanks Dave for the review! Also live review of @APTBS and @HellbirdsBK

It was my pleasure to review your album, Dion. Thanks for sending it over! A perfect listen while on the exercise stepper or doing yard work (usually both as in my world, one frequently follows the other). As for APTBS shows - each successive one is wilder than the last. There's a true excitement level every time you guys step on stage.

Being able to catch The Stargazer Lilies and Dead Leaf Echo again (and Altocamet for the very first time) - one after the other at the same show was a real treat, Misty. Not to worry about DLE's "Sparkle" - it got handed to a few of us in the audience - but eventually made it back up to the stage.

The same can't be said for A Place To Bury Strangers - who have habit of flinging guitars around and even smashing them forcefully down on the stage. It's a good thing Oliver a guitar builder, because he surely has to rebuild a few after some of these shows.

Both the Dion Lunadon and Hellbirds albums are my favorite releases this year. Two great records that deserve to be heard!

Some nice photos from one of your guest photographers there. It can be difficult to shoot APTBS in the constant state of darkness, strobes, and fog! All the more reason as to why they are my favorite band to shoot.

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Mark Holmes wrote:

Oliver Ackermann is amazing!!¡!

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William Hickey wrote:

Oliver was always cool. Played with them at Cogan's in Norfolk and in Charlottesville at the Tokyo Rose back in mid nineties. Pretty sure they were Soundwave then. Always loud and loved their pedals!!!

Oliver is such a genius really, but so down to earth. Always willing to talk at length. A guy at the show bought one of his pedals at the merch table and they all signed it for him. Pretty cool. The way they abuse guitars in their show, though! Dion too!

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Those are some great shots Tony! Truly it's the "constant state of darkness, strobes and fog" that keeps us mesmerized

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That’s a killer story, William. That was when you were playing in your band Astropop3. Sounds like it was a memorable experience.

One of the great communications outlets we have in these modern times are all the various social media platforms like Facebook, Instagram and Twitter. Any place you can post a link-back to something created is worth belonging to. Thanks for all the posts and re-posts!